Judy Chicago (American, born 1939). <em>Trotula Place Setting</em>, 1974–1979. Runner:Off-white cotton in satin weave, muslin, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, colored cotton floss, quilted and appliquéd fabrics, cotton thread
Plate: Porcelain with overglaze enamel (China paint), rainbow luster overglaze, and possibly paint, Runner: 51 3/8 x 29 3/8 in. (130.5 x 74.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-18. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-18_plate_PS9.jpg)

Judy Chicago (American, born 1939). Trotula Place Setting, 1974–1979. Runner:Off-white cotton in satin weave, muslin, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, colored cotton floss, quilted and appliquéd fabrics, cotton thread Plate: Porcelain with overglaze enamel (China paint), rainbow luster overglaze, and possibly paint, Runner: 51 3/8 x 29 3/8 in. (130.5 x 74.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-18. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-18_plate_PS9.jpg)

DOWNLOAD

Download our app and ask your own questions during your visit. Here are some that others have asked.

Do you have a favorite place setting in "The Dinner Party"?

At the moment, I would have to say Trotula. At the time "The Dinner Party" was produced, Trotula was thought to be the name of a physician in Medieval southern Italy and I think the symbolism in that setting does a good job representing that. More recently, in the 1990s Medieval scholars deduced that Trotula was not actually a person and is, instead, just a collection of texts on medicine for women written in Salerno in the 12th century.

That's fascinating. Revised herstory.

Who is this dedicated to?

That is the place setting for Trotula, believed to be an 11th century Italian doctor. Writings attributed to her advocated for women to be able to use pain relieving medicines during childbirth and also revolutionized the medical field by suggesting that men could also be infertile.

It was determined in the 1990s that the name Trotula actually only refers to a collection of medical writings from 11th century southern Italy. The documents are, however, based on the knowledge of real female physicians living in and around Salerno at the time.

Wow thank you, great service.

What's your favorite little known fact about the installation?

That's easy! Trotula is not a real person! From the 15th century until the 1990s, people believed that Trotula was the name of a woman who worked as a physician in Salerno, Italy in the 11th century, which is why she is given a place at The Dinner Party.

But when I was doing some research, I found that scholars of Medieval texts, in the 90s, determined that "Trotula" was just the name of a collection of medical texts pertaining to women in 11th century in Salerno.

Ohhh interesting. Did you or others petition to have the plate removed from the table?

No, The Dinner Party is a pretty fixed installation. Besides, there were may women practicing medicine in Salerno in the 11th century and these "medicas" were cited as a source for much of the information in the Trotula text. The place stands as a symbol for them.

As it stands, The Dinner Party represents a very specific time and place. It's like an artifact in that way that we can still study and learn from.

Thanks for the info!

What do the birds symbolize?

That is an ancient symbol for the medical profession. The main image in the runner is a Tree of Life. Chicago compares the Tree of Life to the act of bringing human life into the world through childbirth.

Thanks!

Trotula Place Setting

Judy Chicago

Elizabeth A. Sackler Center for Feminist Art

On View: Elizabeth A. Sackler Center for Feminist Art, 4th Floor

ARTIST Judy Chicago, American, born 1939

MEDIUM Runner:Off-white cotton in satin weave, muslin, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, colored cotton floss, quilted and appliquéd fabrics, cotton thread Plate: Porcelain with overglaze enamel (China paint), rainbow luster overglaze, and possibly paint

DATES 1974–1979

DIMENSIONS Runner: 51 3/8 x 29 3/8 in. (130.5 x 74.6 cm) Plate:14 x 14 x 1 3/16 in. (35.6 x 35.6 x 3 cm) (show scale)

COLLECTIONS Elizabeth A. Sackler Center for Feminist Art

ACCESSION NUMBER 2002.10-PS-18

CREDIT LINE Gift of The Elizabeth A. Sackler Foundation

EXHIBITIONS

MUSEUM LOCATION This item is on view in Elizabeth A. Sackler Center for Feminist Art, 4th Floor

CAPTION Judy Chicago (American, born 1939). Trotula Place Setting, 1974–1979. Runner:Off-white cotton in satin weave, muslin, woven interface support material (horsehair, wool, and linen), cotton twill tape, silk, synthetic gold cord, colored cotton floss, quilted and appliquéd fabrics, cotton thread Plate: Porcelain with overglaze enamel (China paint), rainbow luster overglaze, and possibly paint, Runner: 51 3/8 x 29 3/8 in. (130.5 x 74.6 cm). Brooklyn Museum, Gift of The Elizabeth A. Sackler Foundation, 2002.10-PS-18. © artist or artist's estate (Photo: Brooklyn Museum, 2002.10-PS-18_plate_PS9.jpg)

IMAGE overall, 2002.10-PS-18_plate_PS9.jpg. Brooklyn Museum photograph, 2013

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.

RECORD COMPLETENESS

Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome any additional information you might have.